“When one feels fear, this is when one feels alive” Fernando Savater
(cited by Almodovar Rodriguez, 2006)
It is widely accepted that horror stories are consistent with the requirements that Young Adult Literature (YAL) possesses and have always been a favourite among adolescents of all times. A survey carried out by Figueroa et al. (2013) in a secondary school in Barrio Nuevo, Merlo, indicated that 25% of adolescent students chose horror stories as their first alternative of reading preferences.“Cuando los Pálidos Vienen Marchando” by Argentinian author Elsa Bornemann can be included in the horror genre and it can be appealing for teenagers and may increase their interest in reading.
The Encyclopaedia Britannica refers to a horror story, to a story in which the focus is on creating a feeling of fear. Such tales are of ancient origin and form a substantial part of the body of folk literature. They can feature supernatural elements such as ghosts, witches, or vampires, or they can address more realistic psychological fears.
This paper will point out a significant value and a personal trait portrayed in this story which constitute the main hook to grab the teenagers’ attention and interests encouraging them to pursue the reading since they would feel identified with the events narrated.
The story being examined here describes the events of two young males, Felipe and Huberto, who are really close friends from childhood. One day they win a brand new motorbike in a raffle and decide to make an initiation ride to the beach. Something appears to be wrong with their bike so it stops in the middle of a bridge. Due to the fact they do not have tools for making the necessary repairs, they decide to wait for help. A strange white Kombi with seven pale freaky persons arrive and take Huberto and Felipe to the nearest village. Suddenly, the young men realize that their pallid helpers are not driving in the right direction, begin to feel scared and start to shout at them. But the only answer they obtain is “it is impossible to regret now. You do not have to be afraid, nothing more will happen to you”. Indeed, what really happens later on leads the story to an unexpected ending.
The story may be a good option for teenagers who are reluctant to read any kind of literature. Herz and Gallo (1996) believe that YAL novels are considered “less demanding and more appropriate for adolescents”. Moreover, this is a perfect example of a story thought for adolescents, and with which they can clearly identify in many respects due to the fact that it conveys the ideas, concepts and values most attractive to them. Having mentioned that “Cuando los Pálidos Vienen Marchando” is a horror story, it could be added that this clearly belong to Young Adult Literature (YAL) which is literature aimed at adolescents. Robert C. Small Jr. (Herz & Gallo, 1996) points out the following features that characterise YAL literature:
- The main character is a teenager.
- Events and problems in the plot are related to teenagers.
- The main character is the center of the plot.
- Dialogue reflects teenage speech, including slang.
- -The point of view presents an adolescent’s interpretation of events and people.
- The teenage main character is usually perceptive, sensitive, intelligent, mature and independent.
- The novel is short, rarely more than 200 pages.
- The actions and decisions of the main characters are major factors in the outcome of the conflict.
Since the story contains some of the characteristics of YAL mentioned above, it may constitute an appealing reader for teenagers. Adolescents may feel attracted, not only to the characters, because of their relationship and their behaviour, but also to the story which keeps them intrigued till the end, as it has an unpredictable ending.
The first concept which may be easily observed at the beginning of the story is friendship, which is depicted as a very strong, close, intimate, loving relationship dating back from childhood. As Marta Vega (2007) states “teenagers have the necessity to establish a relationship with a peer who is the same age and he/she would be the ‘mirror’. This close friend is placed as a double of the other in order for the person to see his/her own transformations” (my translation). As Holly Koelling (2004) puts is, “Social groups begin to take second place to intimate relationships with the same or opposite sex. These relationships […] are intense”.
The following extract shows that the story portrays a close friendship among Felipe and Huberto:
“Apenas Felipe se enteró —al recibir la carta aquella mañana—, telefoneó a su amigo Huberto:
— ¡Me saqué la rifa de la exposición, Huber! ¡La moto es nuestra!
"Nuestra", había dicho, y era cierto, porque la amistad entre ambos los llevaba a compartirlo casi todo desde la infancia. Con más razón, esa poderosa moto importada con la que los dos habían soñado tanto”
As can be seen, Felipe and Huberto are really good friends and they share almost everything.
Secondly, one of the notions that become prominent as the reader advances on the story would be the adventurousness or recklessness shown by the young men when they plan on going for a long ride immediately after they come into possession of the motorcycle, completely disregarding any possible complication that may occur. A parallel could be drawn between this and the typical teenage behaviour of taking risks without considering the consequences. Koelling (2004) agrees with this idea when she writes, “Teens often place themselves in the hero’s role and fantasize about it...” feeling that they have “a sense of strength and immunity to the consequences of life. […] “They do not yet have a sense of their own mortality”.
The sense of adventure or reckless behavior can be found in the following dialogue between Felipe and Huberto:
“— ¡Qué joya! —repetía Huber unos días después, al contemplarla ubicada en el patiecito delantero de la casa de Felipe mientras, mate va, mate viene, planificaban un viajecito para "ablandarla".
El estreno había sido —como es de suponer—dando mil vueltas a través de las calles del barrio, ante la admiración de la muchachada.
Me parece que lo mejor será viajar hacia Arenamares... (Felipe miraba un mapa de rutas en compañía de Huber).
—Son quinientos tres kilómetros. Podemos hacer paradas en Villa Soltera, en Posta
Luciérnaga, en...
—Pero por ese camino... ¡son como ciento veinte kilómetros más, Felipe! —protestó Huber.
—Sí, pero estoy eligiendo las rutas menos transitadas. Lo que perdemos en kilometraje lo ganamos en tranquilidad. En esta época, medio mundo viaja hacia las playas. ¡Odio los embotellamientos!”
[…..]
“Los primeros doscientos kilómetros los recorrieron sin ningún tipo de inconvenientes. "El Rayo" marchaba a la perfección. Eso lo animó a imprimirle mayor velocidad de la aconsejable para un rodado "en ablande". “
[…]
“Poco después —y bruscamente— la moto se detuvo en mitad del puente y no encontraron forma de hacerla andar otra vez.”
As it can be spotted in the extracts above, Felipe and Huberto plan a trip without being aware of possible problems with their motorbike. When Felipe chooses the longest and most desolate route only because he hates traffic jams, and as well as , when the “Rayo” – the name given to their motorbike- is working well, the rider accelerates, in both cases they are not taking into account the possible consequences of their actions. Another example of their lack of consciousness as regard any possible difficulty would be the fact that they take no tools for their trip. It never occurs to them that a brand new motorbike may have any mechanical problem.
All in all, this paper has attempted to demonstrate that “Cuando los Pálidos Vienen Marchando”, a horror story written by Elsa Bornemann, constitutes an attractive reading for adolescents who would certainly feel identified with the events narrated since it deals with friendship and adventurousness which are significant issues at that specific stage in life.
References:
• Bornemann, E. (1994) “Socorro. 12 cuentos para caerse de miedo”. Ed. Alfaguara.
• http://childdevelopmentinfo.com/child-development/teens_stages/ Accessed 9/10/13
• Vega, M. (2007) “Escritos Psicoanalíticos sobre Adolescencia”. Ed. Eudeba.
• Koelling, H. (2004) “Make Sense of Teens as Growing People and as Readers”. Libraries Unlimited. Westport, CT.
• Bossellini, L. & Alcira, O. (1995) “Psicología”. A.Z. Editora.
• Herz, S & Donald, G. (1996) “From Hinton to Hamlet: Building Bridges between Young Adult Literature and the Classics”. Westport, CT: Greenwood Press.
• Almodóvar Rodríguez (2006) “Cuentos de Miedo, ¿por qué?”. Biblioteca Virtual Universal. Retrieved October 9, 2013 from http://www.biblioteca.org.ar/libros/132438.pdf
• Encyclopaedia Britannica: “Horror Stories”. Retrieved October 22, 2013 from http://www.britannica.com/EBchecked/topic/272144/horror-story
No comments:
Post a Comment